EPOCH - Modern light-weight geometric display sans
───── 「 MEASURES 」
(in grid units)
X-Height: 1
Cap-Height: 2
Descent: 1
Optical Corrections: None
Stroke: 1/8 th
4-Em / 0.125 : 1-Stroke (0.125 ≍ 1/8 th)
― No filters used.
───── 「 SUMMARY 」
This is yet another deep dive into the very small and tiny quantum realm of FontStruct's small grid and light-weight stokes.
Unlike some of my previous endeavours into this dark corner of the FS-editor, which could have dizzying complexity in forms, this project for once didn't stress the sh....*t out of me by stretching the limits for my capabilities beyond what is still comfortable this time. Nor did it drain every last frigging bit of my knowledge or clever creative insight to pull it off.
On the contrary,
For once it remained largely a pretty straight forward and easy project in terms of forms and geometry. The absence for most of the 'bar-raising' features such as diagonal forms, rounded, transitions or stroke modulation made this 'FontStruction' that much more easy.
And when metaphorically breaking it down to the bare naked form and necessities, this design mainly consist of FS's (default)-brick set, resized modifications of those, combined with a set of stacked composites.
There a still a number of things I'd rather seen differently, and will see later attempts at making improvement, but taken in a broad perspective most of the included material so far look pretty fine to me already. And to point out one of the things that is still bugging actually are the 'accented' letters.
Some glyphs have odd values for their 'character'-width, and this makes it impossible to achieve 'grid to em-square'-bounding box allignement in FS's editor. So accents in these asymmetrical values look slightly ofset.
― "Changing character widths to nearest even value is simply far too destructive to the stylish characteristics of the fonts appearance"
───── 「 ABOUT THE FONT 」
In the end it became a pretty cool looking light-weight geometric modernist sans-serif style that at the same time has strong hints of Art-Deco-style lettering as well.
And apart from the minor things it fell short with, I think there is a lot about its overall character-set design and forms that is looking pretty darn rad actually if you ask me.
Content-wise the font is a single case design in a 'all-caps' or Majuscule style. The (Lc)-string was kept empty for deliberately for the technical reason of preserving all the (default)-blank metrics data for any further design updates.
───── 「 WHATS INSIDE 」
A little bit of everything...
■ Body text formatting:
□ Basic-Latin based character set with accented letters & numerals
□ Most punctuation marks
□ Numerous symbols
■ Decorative formatting
□ Pictorial attributes
□ Repeating patterns
───── 「 THE END 」
Let me know what you think so far,
Cheers
TUBULAR LUMINII - Rounded inline display sans
◇◆◇ ❒ CONCEPT ■ ■
⇛▸⇛ Font that mimics electrical gas-discharge tubes (Neon)
◇◆◇ ❒ BACK STORY ■ ■
A larger potion of the Neon-fonts that are found on the web often have these quite strong emphasis on their decorative design aspects, and a lot of them come in elaborate looking complex styles and form. Besides the numerous optional different personalized conceptual decorative elements implemented into the design, many typefaces also regularly use more commonplace modifications such as; ▸multi-linear, incisions, patterned etc.
◇◆◇ ❒ THIS FONT ■ ■
Instead I went with a clean, simple basic geometric letterform, one that is essentially mono-linear at it's core. The one major key element that I have incorporated to the concept is that unmistakable in-line stroke. This was done to give it more of a convincing 'tubular'-concept as is the case with a real neon gas tube.
The other less pronounced but nonetheless fundamentally important design feature are the closed stroke-endings. Apart from being this extra little personalized element, it also suits a technical purpose. That of which is; "To fully preserve all 'in-lined'-negative (white) space in full isolation". This enables somewhat easier 'end-use' access to layer atributes or compound paths in graphic design software.
◇◆◇ ❒ FS TECHNICAL ■ ■
It's constructed mainly of connector bricks and a set of custom composite bricks, expanding FS's default connection brick set. Enabling greater viariational depth and complexity for custom shaping.
◇◆◇ ❒ FS METRICS ■ ■
❖ ❖ Metrics ⇒ 〔measure in ⇒square grid units〕
〘▸〙〔Glyph Metrics〕
○ Brick Size Filter: ~ 2 : 2
○ Cap-Height: ~ 4.5 ✕ 4.5
○ Ascent / Descent: ~ 0.5 ✕ 0.5
〘▸〙〔Font Metrics〕 ❖ ❖
○ Font Size: ~ 7.5
∗ Full Em square (incl. ⇒ symb. & punct.)
More soon..
Cheers
This is a cloneFORMALISMS - Modernist inline display type
Rigid square-based inlined modernist display style with incised (fake-) 3D effect, mimicing a quirky and non-logical take on twisted geometric form and sometimes folded appearance.
Some characters, but mainly symbols still need slight improvements, some are still missing as well.
The bi-linear stroke was incised at certain specific positions and had one or more (cross-)intersecting line segment included that connect the two colinear strokes. This is creating 2 additional extra geometric hyper-planes, and allows the option of including the illusion of looking at three-dimensional geometric objects.
But the way this is implemented into the design in fact obeys no relationship to any actual fundamental propeties and isn't necessarily a correct three-dimensional form, nor fully or faithfuly folded.
The glyphs also have somewhat of a monogram logo style quality
Hope you like it
Cheers
SJABL00N - A futuristic looking display stencil
It is far from perfect, and especially the symbols and punctuation marks could here and there be better.
I think this was initially inspired by the likes of Wim Crouwel and similar graphic designers.
I hope you like it
This is a cloneSTF_ELEGANZA (Therapy) ―Contemporary geometric humanist sans
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A font style, that while simplified by old tradition, saw new light by modern sophistication.
It comes in a solid medium weight that is very suitable for body style text with good readability, but it does perfect clean headlines or ads as well.
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The goal was to make a clean but somewhat more contemporary and playful take on a 'Grotesque' sans-style.
In an attempt to break away from the traditional trend of Grotesque type designs which evolved more around pure geometric shapes and aim for perfect circular, triangular or square shaped letterforms, that in return give many of them a somewhat harsch and featureless mechanical appearance, I choose to try and achieve the opposite, aiming for a softer, friendlier and more humanized feeling instead.
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Dimensions: (in grid units)
X-Height: 1 .625
Cap-Height: 1 .875
Em: 3 .5
Brick Size filter: 2 : 2
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This is the 'Therapy'-style in the 'ELEGANZA' typeface family. This version basically aims for the exact opposite effect than what the Tight' version did. The name 'Therapy' relates to its 'opened-up' appearence and the overall de-stressed propperties of this version. The more relaxed and spacious distribution remotely resembles the characteristic feel of a typewriter face. But the main purpose for this version is to create visual hierarchy in your layout.
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The other style variations can be found here:
ELEGANZA (Tight)
ELEGANZA (Tall)
I hope you like it...
This is a clone of STF_ELEGANZA (Tight)3-D TWIST - Incised contemporary display sans
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A simple contemporary geometric sans with insicions that give it somewhat of a 3-dimensional stencilesque look. There is only a limited and basic characterset included in order to make it functional. it's mainly aimed at display use.
I hope you like it..
Cheers
This is a cloneLITERA FACILIOR GOTI ― A 'Blackletter' script style with a twist
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Also known as Gothic script, Gothic Minuscule, or Textura, was a script used throughout Western Europe from approx. the 12th untill the 17th century.
This FontStruction was aimed at mimicing the aesthetic approach of a ― ‘Textura’ variant of the Gothic Minuscule script style, more accuratly refered to as ‘Littera Textualis’. This style is most characterized by its strong sturdy letterforms, with distinguishing sharp, straight and angular features as oposed to the other variations in this catagory.
In terms of authenticity to the original predecessing formal script family, my ‘Litera Facilior Goti’ didn't took a whole lot of care for authenticity. The idea was to take a more independent and experimental approach to shaping the letters and forms, so it wasn't necessarily inspired by any specific typeface in particular, it rather recycles certain characteristics of a ‘Textualis Quadrata’, but beyond those aspects of general guidelines it evolved on its own.
Some of the areas where the design tends to really stray away from the tradition is for example the serifs:
It's often that I have some trouble with the weight ratio distribution of serifs and such elements in simplified modular based geometric Blackletter fonts. In many of such designs they tend to have been left pretty static and equal in thickness throughout the full character set. Which I think is often either having some letters look clumsy or even weird, and generally speaking also often making them appear too thick.
So this was one of the things I had to try and adress, I experimented a little with the style and forms of the serifs. Eventually this resulted in multiple deviations in variety to mix and create a more dynamic distribution. similar to what was done in less formal scripts. Over time they became ever further simplified, letterforms that involved less reorientation of the pen, in pursuit of styles that were quicker to write.
But taken as a whole typeface I find that it is having this certain ‘random-ish’ characteristic that is simply working for the better of these particular style fonts.
I'm still working on improving its overall rhymes and reasons to a certain point that is acceptable, balanced and with enough consistency. But up to this stage I personally think that the concept worked out quite successfully so far. And that even despite the fact that its stripped down of most ornamental decorative calligraphic extravaganza, it still managed to capture a convincing portion of that ‘Medieval ’ looks and personal flavour.
But I think that in the end this became a pretty neat looking font and it would classify somewhere between a hybrid mix of simplified Blacklettering and a drunken man's ‘Textualis’.
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― No filters used!
Cheers!
This is a cloneMIKITA - A "Chrome Script" style font based on the "Makita" logo type.
It is a simple 'semi' connected script, with only the basic character set. I don't feel like this requires having tons of typographic features. It is just aimed at writing simple things in this script style.
I hope you like it nonetheless
Cheers
KROEPOEK -Letterforms influenced by the orient.
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Simple geometry based design that tries to imitate Asian style letterforms.
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The font comes as a "all-caps"(majuscules) with the lowercase string used to include a set of glyph alternatives for the uppercase set, but cutting the descending parts of the glyphs.
As a little bonus, a set of underlined lowecase vowel alternatives (a, e, i, o, u and y) was also included to allow a small level of personal depth. These can be found in the Unicode block for: 'Halfwidth and Fullwidth Forms'
Besides the letters there is also a set of essential punctuation and symbols present to make the font proper functional.
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I hope you like it,
Cheers!
Fleurella - Simple modern yet elegant sans-serif typeface design.
WIP (See discription in the comment sections sample image posted bellow.
What I forgot to mention is that the big decorated "fleurella" monogram is in fact an experimental different weight that might become a new font.
All the decorative ornamental parts (animals, plants) are located in the "The Private Use Area (PUA)"
Accessing them on Windows is easiest using Character Map
- Start Menu, type ‘character map’ and select the relevant app
Cheers
This is a cloneBACELAR & İRMAO — All-caps (Majuscules) 'Art Deco' display sans
═══[SOURCE]═════════════════════════════
Revival of the Art-Deco lettering seen on the medical supply store sign of
"Bacelar & Irmao, Lda."— Porto, Portugal.
═══[PROCESS]════════════════════════════
I tried to keep it as faithful to the original as I could without compromising too much.
But in order to make them fit a complete typeface when doing these kind of revivals from lettering that were never intended to be a complete 'A-Z'-alphabet can sometimes be tricky not to have certain aspects get lost or slightly modified. As was also the case in this effort...
One of those specific changes for example was with the 'Capital A with tilde'.
In the original store sign the style of the tilde is fairly novel and unique. And seen in that particular situation used 'as is', its pretty self-explanatory of course, and works just fine. But viewed in isolation it is hardly recognizable as a tilde. Not to mention if it was part of a complete typeface that includes multiple accented letters. In that case I thinks it is very confusing and rather useless when it has to resamble the tilde. To overcome this issue I created a new capital letter 'A' with a more traditional and better recognizable tilde.
But obviously I had to somehow preserve that original and quirky novelty as well. So I included it into the location for the capital letter 'A' with ring above. I think it suits that spot much better to be honest. So in the end nothing really got compromised.
I hope you like it
Cheers
CHAPPELL & Co. Ltd. - A simple bold sans serif display typeface.
Nothing out of the ordinairy here, just nice clean looking letterforms for good readability.
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The font was based on the lettering seen on a 19th century sheet music artwork. The lettering saying "CHAPPELL & Co. Ltd."
I made some small changes along the way to in order to complete the full alphabet and extra's.
This is a cloneSMEERKAAS - Decorative, squarish geometric and rounded Art Nouveau display type
══[CONCEPT]══════
Modern typeface design influenced by Art Nouveau typography.
At its core it is a plain geometric style, and the real breakaway towards a more decorative 'Art Nouveau' inspired style starts with the elongated letterforms and their irregular descending elements. These give it a slight more interesting and dynamic flow that somewhat resembles a calligraphic or handmade look. Some of the descending elements in the uppercase string slightly differ in length and are more decorative, mimicking a dripping-like effect.
Unlike with a more traditional Art Nouveau lettering, the geometric backbone of this design keeps it quite futuristic looking, and actually provides a nice transitional blend of styles.
It works well at pretty much any point size, even at the very smallest, but keep in mind that the font wasn’t meant for large body style text, and is best used in short decorative setting.
══[TECHNICAL]══════
Cap height: 12 units
Body height: 17 units
Point size (Em): 18 units
― I will add extra glyph alternatives in a later update (posted: 09-14-'22)
══[BACKGROUND]══════
The name “SMEERKAAS” is dutch for “cheese spread”and it likely needs some further explanation on why this particularly odd name was chosen.
During the eighties we had this idiotic tv commercial that was aired on dutch
television for a cheese spread brand called “Goudkuipje”.
The plot for this commercial was a castle siege during medieval times, and it revolved around the phrase;
― "Ze smelten de kazen!" which translates to; ― "They melt the cheeses!"
The plot further enfolds into the defending part that had run out of hot tar to pour onto their enemies, alternatively they started melting cheese, so that they would be able to pour that down the castle's wall.
To better understand the link between my font and the tv-commercial you should watch the short commercial clip first.
Video Linkhere - youtube.com
But in a nutshell, the name was sort of choosen as a meme to suit the font's dripping-effect decorative theme.
I hope you like it so far...
Cheers
This is a cloneLENA (Text) - Geometric retro display type family
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This is a part of the typeface family called 'LENA'.
A font family that comes in 3 different style varriations: Inline Solid, & Text
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Here you can find the rest of this family:
LENA (Solid)
LENA (Inline)
Cheers
This is a clone of STF_LENA_(Solid)LENA (Solid) - Geometric retro display type family
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This is a part of the typeface family called 'LENA'.
A font family that comes in 3 different style varriations: Inline Solid, & Text
============================
Here you can find the rest of this family:
LENA (Text)
LENA (Inline)
Cheers
This is a clone of STF_LENA_(Inline)ALIEN WORMHOLE (BOLD) - Monolinear Sci-Fi-inspired 'worm' typeface.
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This is a 'Bold' style version to the "ALIEN WORMHOLE" type family.
This version has a ton of extra character compared to the 'Light' version.
For now only the two 'Basic Latin' sets, some symbols and a small number of puctuation marks match. And it remains to be seen if I can translate back to the Light version all those extra's that were put into this Bold version.
I mentioned 'type family' earlier, but in reality there isn't a whole lot of family just yet. Since the two for now hardly correlate truly.
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Here is a link to the 'Light' version
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Stay tuned for future updates.
Cheers
MODERN TYPEWRITER - Typewriter style Slab-Serif
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The idea was do a simple, clean and solid looking design that mimics the looks of a classic typewriter style typeface used for form fill writing style.
The rectangular shaped concept was carefully chosen to provide this nice mechanical looking forms, and to further enhance the technical style concept of this design.
This isn't a font, but rather a collection of very helpful free tools for font designers and FontStructors alike.
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The collection includes various tools to help you with the optimization process in the final stages of your type design project. Tools to create custom kerning sheets, tools for font testing etc.
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KERNING:
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• Whitespace Character Removal Tool
Simple whitespace, tab, and newline deleter.
• Line Break Removal Tool
Removes line breaks from any kind of text.
• Combination Generator
Create every possible combination from a provided input string.
• Lorem Ipsum Generator
Multilingual Lorum generator for randomized typographic filler text.
• Text Test String Generator
Stringmaker is a little tool for generation of test strings that are useful in type design processes, most notably spacing and kerning.
• Kerning Pairs Generator
Quickly generate kerning pairs and test all the letters, numbers, ligatures, and other glyphs more quickly and efficiently.
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FONT TESTING:
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• FontDrop! / Web-Based Font Check-Up, Testing Tool
Tool that allowes some very helpful font testing, especially useful for checking how a font behaves in a web-based digital display format.
• FontDrop!-Compare / Web-Based Font Comparison Tool
Tool that allowes to cross-compare different fonts or font versions.
• Cyreal Font Testing Page / Web-Based Font Check-Up, Multi-Testing Tool
Tool that allowes some very helpful font testing, useful for checking kerning or how a font behaves in web-based digital display format. (Similar to FontDrop! but more powerful)
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FONTSTRUCT PRE-BUILD MATERIALS:
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• STF_FAUX BEZIER ROTUNDS
Pre-build linear-Interpolated curve collection
• STF_CURVE TOOL (Small Grid)
Pre-build small grid round letterforms
• STF_CUSTOM BRICKS 3.0
Custom composite brick collection
• STF_CUSTOM BRICKS 2.0
Custom composite brick collection
• STF_CUSTOM BRICKS 1.0
Custom composite brick collection
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I hope I can include some more tools in the future, if you have a helpful tool that you think should be included to this list as well please let me know.
I hope you'll enjoy this for now!
Cheers
This is a cloneAVANT-GARDE i10 (Tiles) - Tiled modular type system
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Another revival of the works originally designed by great dutch graphic designer Jurriaan Schrofer
The original source for this fontStruction was the cover of 1963 paperback: "i10 de internationale avant-garde tussen de twee wereldoorlogen"
by Lehning, Arthur & Jurriaan Schrofer
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I provided the (A-Z, Uc & Lc) basic latin character set, numerals, basic punctuations & symbols. Some of the symbols could still use slight improvements though. But the grid/brick system parameters did pose some tough limitations in regard to the allowed complexity.
The quality of the font preview shown above by FS's website is very poor and inacurate due to the combination of brick size filter (0.90-0.90), very small incisions and composite bricks. Best you'll check the sample image bellow in the comment section.
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-- Down here you'll find a link to the 'regular' style version for this family:
(The regular version doesn't come with a full uppercase set)
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I hope you like it nonetheless,
Cheers
ALIEN WORMHOLE - Monolinear Sci-Fi-inspired 'worm' typeface.
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[Historic snapshot:]
Most well known worm-type design probably is NASA's retired 'worm' logo (used from 1975 till 1992).
A sophisticated modernist rendering of the letters (N-A-S-A), done in a bold style letterform.
That being said, I should mention that this FontStruction wasn't "inspired by" or "based on" the original NASA logo though.
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[About this font:]
Small grid attempt at making sort of a experimental futuristic 'worm'-type design.
The letterforms for the most part are build from simplified basic geometry (rectangles/circular) except for a small number of symbols and punctuation that have diagonals.
It's experimental appearance is defined by the strikingly quirky counters that are awkwardly jutting out of the stems. To further boost it's awkwardness the letterforms have irregular width.
There is a full set of uppercase and partial lowercase glyph alternatives located in "Half Width Full Width" Unicode block to add slight stylistic variations.
I hope you like it,
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Here is a link to the 'Bold' version
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Cheers!
REWINDER - A bold and decorative "I don't have a clue" style font.
Alternative lowercase versions for (a, c, e, g, j, m, n, o, q, s, u, v, w, y, z)
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Usually I design fonts from a general concept I have in mind and start with the Latin alphabet first since I am most familiar with these characters. Then when I have completed these I start adding extra language support. letting everything evolve from there on out into the other languages such as Cyrillic or Greek. Doing it in this fashion I find myself having the best change of doing a decent job designing characters I am not familiar with the right way and in line with the design parameters.
This time I starten designing the Cyrillic alphabet first, trying not to think about the Latin set design at all. I did this in an attempt to have a neutral mindset that wasn't influenced in doing it a certain way.
And I must admit, this was the best and most comfi time I ever did a Cyrillic set. I experienced a sense of having a lot more freedom for creative output.
The result became this cool looking "hell knows" what kind of style letterforms. I have no clue if I actually did a decent and accurate job at the Cyrillic set, and I'm not sure where to go from here on out either.
I hope you like it so far
Cheers
STF_THUNDERDOME - A tall thin stroked Art Deco typeface.
I tried to create pretty simple, elegant but somewhat wonky geometric letterforms.
Inspired by the later 70's Art Deco Streamline period.
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This remains a WIP, many of the glyphs in the Extended-Latin set aren't reflecting their Basic-Latin counter-parts. The character set remains far from complete for now, and many changes need to be made still.
Kerning done only for a few pairs and overall balance therefor is still quite poor I guess.
Some 'more' detailed but derailed towards the end 'in-depth' recap of this font could be found bellow in the comment section.
Stay tuned for more,
Peace!
This is a cloneBOOK PRINT ORNAMENTS (TEXT BOX) — Text box ornaments for book print
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14 Ornamental box drawing sets aimed at creating those classic looking (text) box ornaments seen on vintage book covers.
Also in this family:
BOOK PRINT ORNAMENTS (CORNERS)
BOOK PRINT ORNAMENTS (CORNERS) —Decorative corner ornaments for book print
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24 Decorative corner ornament sets aimed at creating (text) boxes
Also in this family:
BOOK PRINT ORNAMENTS (TEXT BOX)
Another (large) set of brick composites.
There are most likely a number of duplicate bricks, not inside this collection itself, but when cross-referenced with todays earlier published collection there most likely are! Nonetheless I think they shouldn't be pulled from the project and should remain included in this collection as well.
All the bricks are saved in "MY BRICKS" pallet.
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The idea for this was to encourage new Fontstruct users into looking past the editors limitations and work-arounds by way of demonstrating some hands-on examples and ideas. I hope this might inspire people to build upon these ideas and make their own sets of composites for their fonts.
The collection isn't a one stop shop for custom composites, but rather just a random useful set of bricks. To peek inside the stacked composite layout and find out how it was build enable "Expert Mode" inside the editor and press "o" on the keyboard, this switches the editor to "Outline" view mode.
If you like to request specific composite configurations, have ideas for A future update or simply having a question, just let me know in the comment section.
Thats it for now, the project is cloneable, feel free to copy, (re-)use, abuse, expand and /-or redistribute, Enjoy!
Cheers
This is a cloneA large set of custom brick composites aimed at small grid designs.
• 304 bricks inside
[INSIDE]
• Numerous corner bricks (curved & rectangular) in various weight ratios (even some transitional) most come with corresponding connector bricks as well
• A set of more decorative corner bricks, such as: inlined, multilined & knotted
• A collection of centered stroke sets in 4 weight ratios
• Some stroke intersection bricks
• A small set of serifs
All brick rotations come as seporate composite for easy further stacking
The idea for this was to encourage new Fontstruct users into looking past the editors limitations and work-arounds by way of demonstrating some hands-on examples and ideas. I hope this might inspire people to build upon these ideas and make their own sets of composites for their fonts.
The collection isn't a one stop shop for custom composites, but rather just a random useful set of bricks. To peek inside the stacked composite layout and find out how it was build enable "Expert Mode" inside the editor and press "o" on the keyboard, this switches the editor to "Outline" view mode.
Maybe I will include additional bricks to the set in the future, dunno yet, but perhaps.. If you like to request specific composite configurations, have ideas for future updates or simply having a question, just let me know in the comment section.
Thats it for now, the project is cloneable, feel free to copy, (re-)use, abuse, expand and /-or redistribute, Enjoy!
P.S. I'm also working on a similar FontStruction that covers slanted strokes and such for small grid designs. That one will be published soon as well.
Cheers
BENGALIQUE - Contemporary grotesk type
A condensed geometric Grotesque style, that at first glimpse looks somewhat simplistic. And for the larger part this is true. The goal was to do a ever so slightly spiced up take on this 19th Century classic style.
At it's core, the letterforms have this strong geometric grotesque backbone that is easy to recognize.
While trying to preserve that unpolished characteristic classic Grotesque basic form, I attempted implementing some personal twists, hoping to make a more contemporary but faithful variation to it's crude classic renegade traditions.
Some of the more distinguishing features for this font are it's heavily condensed style, the somewhat quirky curvatures, overshoot and/-or tapered ends in certain 'sweet spots' on a glyph's leg or terminal.
At random some legs will also ascend and descend just a tiny tad bit, gently adding this extra layer of dynamic depth and playfulness.
Spurs are slightly tapered, counters, negative spaces are in mostly rectangular and do not mirror their convex outer curves, in fact the only concave curvatures within a partially enclosed negative space are those that have strokes intersecting or when a curved shape is used to replace diagonals.
(such as; "B, Kk, Ss, Xx, Y, Zz" numerals; "2, 3, 5, 8")
Note that a couple more unmentioned characters make use of concave curves as well to accentuate specific choices.
(such as; "R, t, ß, etc.")
Visual corrections and optical compensating was exclusively performed on the top part of the glyphs, not their bottom.
-- Some additional side-bearing and kerning is still required --
No filters used...
The font works best for 'Display Type' at most point size. In smaller quantities it can be used for 'Body Type' as well with some proper adjustments to the horizontal spacing. But, nonetheless the font's condensed nature, it's tight letter spacing and some thinner strokes still heavilly affect the flexibility for legible Body-Type-use.
Recommended size for Digital-Display-use is 28pts or higher, and bellow 20pts the font becomes unreadable in Digital-Display-use. But I hope you like it so far, and feel free to let me know what u guys think! ?
That's all for now folks..
Cheers
XATURATE - Heavy weight Egyptian slab
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Here is another throwback of my original older works, now refurbished and expanded into a complete font that includes multilingual support.
As part of the recent endeavours into my older FontStruct works, digging for the forgotten and lost potential gems, I stumbled upon this Egyptian style Slab-Serif, called 'XATURATE'.
This classic looking heavy weight Slab-Serif design was left rather inconsistent and pretty incomplete. I don't remember why I abandoned
this back then, since this letterforms had great potential. They just needed a healthy fresh perspective and a little bit of extra love to make them shine after all.
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• polished shape and form
• Rebalenced full character set
• Added multilingual support
• Included many symbols & punctuations
• Overhauled entire metrics
• Partial kerning (WIP)
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I couldn't be more happy with the final result,
Let me know what you think...
Cheers
OBLONGUS - Modern light weight monolinear geometric sans
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■ Description:
Light weight monolinear geometric sans.
■ Design summary:
One of the most striking features is it's overall well ventilated, light weight and spacious appearence. Some other key features are the glyph's elongated ascenders and descenders. These give the font a somewhat condensed and stretched look. An additional side effect of this is the extra empty vertical space above and bellow a line of text. Contributing even some more to the already ventilated character of the design.
Another key feature are the stylish rounded forms and novel long spurs. I tried to find elegance in it's simplicity, the decorative elements, turns and twists were all done in a very gentle but clearly present manner. All working together these elements give the font a very welcoming, friendly and laid-back vibe. Extra's, such as glyph alternatives will help spicing things up even a bit more.
So, while trying to remain simplistic in nature the font does have some nice stylistic appeal for sure.
■ Tech specs: (measured in square grid units)
Glyphs dimensions: 16 × 8
Weight: 0.125 (1/8th)
Brick size filter: 2 ꞉ 2
■ Font features:
▪ Basic-Latin, punctuation & symbols
▪ Lining & non-lining (oldstyle) numerals
▪ Glyph alternatives
▪ Partial kerning
■ Update history:
▪ [06-24-2022]
Basic font created
▪ [06-24-2022]
Changed lowecase 'w' with a wider version
▪ [06-24-2022]
Made cursive style lowercase 's' & 'tailed z' glyphs as default style
▪ [06-24-2022]
Partial kerning applied
▪ [07-24-2022]
Added multiple sets of numerals styles
- Lining (default style)
- Non-Lining (Oldstyle)
- Double Struck
(Slight different, extra decorative, more leaning towards classic style)
▪ [07-24-2022]
Included random stylistic glyph alternates, special characters & ligatures
- Additional extra characters will follow next update
I hope you like it so far
ARC - Modern geometric sans
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Refurbished version of a old Fontstruction.
The idea was to keep it clean and simple.
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1/8th stroke weight
Enjoy!
This is a clone